RogerRosenblatt’sbookBlackFiction,inattemptingtoapplyliteraryratherthansociopoliticalcriteriatoitssubject,successfullyalterstheapproachtakenbymostpreviousstudies.AsRosenblattnotes,criticismofBlackwritinghasoftenservedasapretextforexpoundingonBlackhistory.AddisonGayle’srecentwork,forexample,judgesthevalueofBlackfictionbyovertlypoliticalstandards,ratingeachworkaccordingtothenotionsofBlackidentitywhichitpropounds.Althoughfictionassuredlyspringsfrompoliticalcircumstances，itsauthorsreacttothosecircumstancesinwaysotherthanideological,andtalkingaboutnovelsandstoriesprimarilyasinstrumentsofideologycircumventsmuchofthefictionalenterprise.Rosenblatt’sliteraryanalysisdisclosesaffinitiesandconnectionsamongworksofBlackfictionwhichsolelypoliticalstudieshaveoverlookedorignored.WritingacceptablecriticismofBlackfiction,however,presupposesgivingsatisfactoryanswerstoanumberofquestions.Firstofall,isthereasufficientreason,otherthanthefacialidentityoftheauthors,togrouptogetherworksbyBlackauthorsSecond,howdoesBlackfictionmakeitselfdistinctfromothermodernfictionwithwhichitislargelycontemporaneousRosenblattshowsthatBlackfictionconstitutesadistinctbodyofwritingthathasanidentifiable，coherentliterarytradition.LookingatnovelswrittenbyBlackoverthelasteightyyears,hediscoversrecurringconcernsanddesignsindependentofchronology.Thesestructuresarethematic,andtheyspring,notsurprisingly,fromthecentralfactthattheBlackcharactersinthesenovelsexistinapredominantlywhiteculture,whethertheytrytoconformtothatcultureorrebelagainstit.BlackFictiondoesleavesomeaestheticquestionsopen.Rosenblatt’sthematicanalysispermitsconsiderableobjectivity;heevenexplicitlystatesthatitisnothisintentiontojudgethemeritofthevariousworksDyethisreluctanceseemsmisplaced,especiallysinceanattempttoappraisemighthaveledtointerestingresults.Forinstance,someofthenovelsappeartobestructurallydiffuse.Isthisadefect,oraretheauthorsworkingoutof,ortryingtoforge,adifferentkindofaestheticInaddition,thestyleofsomeBlacknovels,likeJeanToomey’sCane,vergesonexpressionismorsurrealism;doesthistechniqueprovideacounterpointtotheprevalentthemethatportraysthefateagainstwhichBlackheroesarepitted,athemeusuallyconveyedbymorenaturalisticmodesofexpressionInspiteofsuchomissions,whatRosenblattdoesincludeinhisdiscussionmakesforanastuteandworthwhilestudy.BlackFictionsurveysawidevarietyofnovels,bringingtoourattentionintheprocesssomefascinatingandlittle-knownworkslikeJamesWeldonJohnson’sAutobiographyofanEx-ColoredMan.Itsargumentistightlyconstructed,anditsforthright,lucidstyleexemplifieslevelheadedandpenetratingcriticism. 1.Theauthorofthetextisprimarilyconcernedwith__________. [A]Evaluatingthesoundnessofaworkofcriticism.[B]Comparingvariouscriticalapproachestoasubject. [C]Discussingthelimitationsofaparticularkindofcriticism. [D]Summarizingthemajorpointsmadeinaworkofcriticism. 2.TheauthorofthetextbelievesthatBlackFictionwouldhavebeenimprovedhadRosenblatt__________. [A]EvaluatedmorecarefullytheideologicalandhistoricalaspectsofBlackfiction. [B]AttemptedtobemoreobjectiveinhisapproachtonovelsandstoriesbyBlackauthors. [C]ExploreingreaterdetailtherecurrentthematicconcernsofBlackfictionthroughoutitshistory. [D]Assessedtherelativeliterarymeritofthenovelsheanalyzesthematically. 3.author’sdiscussionofBlackFictioncanbebestdescribedas__________. [A]Pedanticandcontentious. [B]Criticalbutadmiring. [C]Ironicanddeprecating. [D]Argumentativebutunfocused.authorofthetextemploysallofthefollowinginthediscussionofRosenblatt’s 4.bookEXCEPT：__________. [A]Rhetoricalquestions. [B]Specificexamples. [C]Comparisonandcontrast. [D]Definitionofterms. 5.TheauthorofthetextreferstoJamesWeldonJohnson’sAutobiographyofanEx-ColoredManmostprobablyinorderto__________. [A]pointoutaffinitiesbetweenRosenblatt’smethodofthematicanalysisandearliercriticism. [B]Clarifythepointaboutexpressionisticstylemadeearlierinthepassage. [C]QualifytheassessmentofRosenblatt’sbookmadeinthefirstparagraphofthepassage. [D]giveaspecificexampleofoneoftheaccomplishmentsofRosenblatt’swork.